Australian artist

The everyday phenomenon or contemporary art is art made since World War II or the art made or produced at the current point in time. Since 20th century the common concern was and is what constitutes of art. Contemporary art is not always easy for it takes a person to the heart of many ideologies and issues. And for our case it helps Australian populace to know their past, present and future. (Crosskey 77) National identity was an issue the Australians argued about in 1990s the symbols, images representing Australians experience and history.

Artists focus on symbols or issues that we ourselves do not treat with seriousness e. g. suburban houses or even acknowledgement of indigenous Australians experiences. Art display welcomes questions but also a reflection of values, history and lifestyle. (Daly 188) Australian Art Australian aboriginal art and post colonial art are classified under art of Australia. In both western traditions and indigenous traditions Australia has produced distinguished artists. The uniting subject for both histories of Australian art is the sacredness and importance of the land. (Smith 42) Early colonial art when taken to Europe was received with skepticism.

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John Lewin was the first resident professional Australian artist; he arrived in 1800 and had two publications on natural history of art. In natural history, in 830 especially there was some ethnographic portraiture of Aboriginals. (Lindsay 138) There has been a gradual change since 1788 in Australian art from a European sense of light to an Australian one. Lighting sense in European differ from Australian this is reflected on early attempts at landscapes. In 1835 to 1878 Conrad Martens a professional artist painted many landscapes which made him financially successful.
His work on landscape was regarded softened so as to fit European emotional response. John Glover was another significant landscape artist of this era. (Pratt 69, 240) In 1840s attempts of art exhibitions were made and managed to attract some artists but there financial difficulties. Regular exhibition became popularized by 1850s with huge display of various arts. (Lindsay 138) Decorative art such as water color painting, miniature, and functional objects such as urns, before second war I became more popular in Australia.
Modernist art after World War I began to be felt and cause disputes between detractors and its practitioners. (Wood 30) Archibald Prize the most famed art prize was founded in 1921 even though definition of portraiture has always yielded to disagreements. There was evident cross pollination of Aboriginal and western art in 1930s and 1940s, after Australian interior was opened. (Art Gallery of New South Wales 19-22) Artists in 1940s began to try other styles such as Surrealism and others. John Brack brought to attention suburban landscape; there was an increased landscape painting.
Brett Whitely a Sydney artist was one of the known painters till his passing away in 1992. (Biennale of Sydney, 102) Papunya Tula School or ‘dot art’ developed after Geoffrey Bardon a teacher in 1971-1972 motivated the Aboriginal people of Papunya to paint their dream time narratives on canvas, one of well known artist of ‘dot art’ is Clifford Possum. Dot Art style art has become well recognized through out the world. Some of well known contemporary Australian artist have progressively used video and photography i. e. Tracy Moffat in their work. (Art Gallery of New 50-62)
Aboriginal artists that make use of western in-between have been recognized internationally and seen as recent time great painters’ example being Freddy Timms. The Australian war memorial has some authorized war artists such as Rick Amor and others for East Timor peacekeeping mission, Lewis Miller in the 2003 Iraq War. (Bosch 90) Artists Imants Tiller Diaspora of Imants Tiller art took an everyday phenomenon that was overlooked. Diaspora means a dispersal of populace of same national beliefs or origin. Diaspora was a series of Imants Tillers in 1990s which he described as a new exemplar in his work.
His four painting were relating to displacement of persons from their original land of your birth due to colonization and dissimilar cultures combination which makes the most part of the narratives and legacies of these societies in the 20th century. For people in Australian and New Zealand countries Diaspora is inbuilt in creation of the society that they are today. (McCulloch 776) Imants paintings were Diaspora 1992, Izklied 1994, Paradiso 1994 and farewell to reason 1996. The thing that was conspicuous about Tillers paintings was the way one big painting had small one next to each other.
The impression that is created by Tillers different interaction of his four art works is that one of worlds within worlds, moving in numerous courses within each work and from one to another. This works are in relation to Till ongoing interest to turn over professed ideologies on periphery and centre of North America and Europe and on one side and comparatively indistinguishable places on the “world stage’ e. g. Lavitia, Australia, and New Zealand. While the liberty of Baltic States was a facilitator for Tillers four series, his works integrate a broader concentration in the insider/outsider puzzle across boundaries.
(McCulloch 776) His work also notes reoccurring cycles of loss, new beginnings and require admitting varied voices. A non-Balt or Balt that observed the great pro- independence protests in 1988 to 1991 will not remember them and the great moving impact they had; the tears, the songs, the sense of liberation as populace were able to utter open things which in forty years they were afraid even to sigh in secret; ‘For you shall know the truth and it will set you free’ Anatol Lievin. (Rowley 192-193) Diaspora 1992
Tillers painting Diaspora 1992 was a reaction to the theoretical political events in 1990 in Lavitia (Home nation to his parents). Tillers connection with Lavitia was unclear his alertness of an innate culture and the image was of the past, were constants in his childhood. They moved from Lavitia to Siberia in Baltic State which emerged after collapse of Soviet Union as refugee due to colonization. This led to Tillers outstanding sudden turnaround. (McCulloch 776) The painting that Tiller exhibited in Melbourne, at a Gallery was his first to enter Diaspora collection.
This work included many references i. e. fragments of images, images, symbols and words from more than twenty works of art of eleven artists from dissimilar art chronological periods and dissimilar cultures. Pierre Restany commented: ‘The spectator witnesses an unfolding of coded messages and secret references, imprecations and fragments of ex-votos, making up the flux, or rather the weave of collective memory. ’ (Rowley 192-193) Izkliede 1994 Izkliede 1994 was created with Australian spectators in mind. It composed of many small pictures like in Diaspora 1992.
Tillers second art has elements in moving up and downward in instabilities performances; this can be translated as globe further than the purely purposeful and rational features of reality. Rudolf Steiner has described it, ‘what is essential is the fact that the visualizations liberate the soul from dependence on the physical. ’ Izeklied can have many meaning like a language. Swastika on the inflammatory matchbox symbol when it adopted by the Nazis caused people to die in millions, for over 3000 years the symbol had been used in many cultures symbolize life, sun and good luck.
(Curnow 148) In Izklied there is Joseph Stalin’s head portraying political image and is surrounded by shapeless masses. When this piece was displayed in Sherman Galleries in 1994 it made a lot of impact to those who saw the piece. By the moment Tillers painted his version the Cold War it had already ended. In Tillers title he suggests that many other battles were in the mind of many people this included the need to take precaution and protect the surrounding through out the world. ‘Let us posses one world, each has one, and is one’ this writing on the piece gave it new energy.
(Curnow 148) Paradiso 1994 Paradiso 1994 is the third work of Tillers in Diaspora. Its context was relations in a disjointed world. His third work was reflecting on relocated people hope for a new ‘promised land’ after going through various problems. This notion or though was never a reality though the displaced people were freed from day to day domination in their own country. The situation was very tough in the countries they took refuge in as they tried to go on with their lives. This ideology of paradise, is connected with faith; gone astray, found and longed for.
Tillers slots in Meka’s book and his words writings ‘We are dreaming of bread and liberty We’ll dream the same when we die Hungry, imprisoned, enslaved And scattered across the face of the earth’(Rowley, 192-193) Farewell for Reason 1996 In Farewell for Reason 1996, they are many secret codes that speak about mortality and rites across diverse cultures. In farewell to reason the idea of recycling is seen because of the panels on the top left and right, in bold letters ‘see’ and ‘surf’. His adaptation of the words such as ‘surf’ an abbreviation for ‘surfeit’ it has profaned and sacred implications.
This work was the last on Diaspora by Tillers. (Rowley 192-193) Finally Diaspora series advocate that social, cultural and local specificities influence language and the manner we think, difference of culture is there for us to come to grips with it, coexistence is a procedure of becoming that is incessantly developing. (Curnow 48) Gordon Bennett and Peter Robinson Peter Robinson and Gordon Bennett in the late 1980s and early 1990s, the have had the intention of commenting, exposing and reflecting on the occurrences of New Zealanders and Australians.
Their works describe and state current day culture, considering the creation of country societies and histories after the colonial rule and also look into the function of an artist in the modern art industry. (Benjamin 127) The both have dissimilar degree of aboriginal descent in their personal past and this has manifested in production of the two artists work. Robison at first gained skills as a sculptor and Bennett work was on painting. Their origin has played a great role in their work for it is divergent in the art world and from how they define their own identity.
They do not agree to be called native artists; they prefer their art not to be weighed down by the descriptions of others. In each artist art work there are some visible elements such as native history, post European arrival and the impact of social politics and conflict with the awful nature and other cultural and current experiences. (Benjamin 127) Their works have been displayed in Three Colors Exhibition and Catalogue basically to give their work closeness rather than compare the two.
They both knew very little about the components work for they had not met prior, but Three Colors gave them this opportunity for their art to talk to each other. In compassion with Ross Gibson’s portrayal of a physical but also a thought of ‘badland’, ‘… a disturbing place that you feel compelled to revisit despite all your wishes for comfort or complacency’ Robison and Bennett react to and involve their cultures, to address problems that are likely to be ignored or serve that risk. Their approaches of art make us to keenly look at the difficult issues at hand (Cambridge 34-40)
Bennett’s expression on the abstract notion of identity bothered specific conformist views that regarded the native Australians, the hegemonic perspective of native culture and past as formulated by the colonial dialogue, and brought close concentration to the widespread implication of such deliberating for viewer and subject. Bennett’s early works seemed to have a liberating sense, for they confronted the Anglo-Saxon Australian description of history seeking to acknowledgement, motivate understanding and re-examining of approach and communal actions.
(Cambridge 34-40) The Coming of light 1987 this is an indication of Bennett’s early works which was filled with anger i. e. a sarcastic tone going throughout his practice. His title was indicating modernization and bringing light to savage mind which was dark. The Urban European attack in this project is represented by elements such as typical city buildings, a backdrop of a mass of European white faces looking with eyes wide opened at one black native and a guillotined jack-in-the-box hanging from a nose.
Use of alphabets in his work is a symbol of capital and commerce, indicating the power in European language and other structures of thought. (Benjamin 127) Peter Robison in his work tried to answer ‘What kind of Maori person was I, if at all? He was from Maori tribe. By choosing g art as a career he was to revive political and cultural interest in Maori individuality, language and customs at that time. He went deeper into the Maori heritage in his work: ‘I am of Maori descent and maybe I’m aware of it, or completely unaware – but I’ve been de-tribalised.
So when I started producing Maori art it was like I was part of a lost tribe that had lost its roots in Maoriness and was finding its own roots. ‘ (Benjamin 127) Gordon Bennett and Peter Robinson work Tongue Of The False Prophet (1992), 3. 125% (1994) and Untitled (1994) are indication of Robinson’s reply, reviewing and investigating his individual stand in the intricacies of the New Zealand cultural state. Robison work the ‘percentage paintings’, 3.
125% (1994) symbolize the inquisitive position that he followed in answering to his ‘Maoriness’ in an opened-ended method, focusing on the dualities inside his individual state of affairs and the superior bicultural state, through its olden times of battle over dominion and privileges: ‘A large number of Robinson’s works have centered on this issue – not just the tools and methods that the power culture in New Zealand has used to de-legitimize and diminish Maori cultural identity and Maori rights to lands and resources, but also the impact that such experiences have had upon the Maori people. ‘(Benjamin 127) 3.
125 percentage , is the mathematics quantity of Maori blood containing Robinson’s ancestry, a number that can be thought as insufficient or sufficient to assert social or cultural rights, depending on the alternative of defining structure; blood, familiarity, or policy: ‘And then they accuse you of jumping on the Maori art bandwagon. The percentage paintings were a way of exposing these kinds of attitudes. It is my belief that Maori identity is a matter of identifying yourself as Maori – belonging in terms of ancestral connections as opposed to being a concept of how much Maori you are in terms of blood quantities.
‘(Benjamin 127) Self Portrait (Good Guys) has a powerful mournful expression on the psychic, self and social effect of color disparity and assimilation. It is against generalization and subsuming of identities on grounds such as scientific, social religious, political or any other grounds. ‘This is what my project is all about – not only through my art but in my coming to understand for myself that I am a measure of Australia and of Australian culture, that I was conditioned and socialized into this culture in a fairly average way.
I feel that by deconstructing my false notions about myself and my Aboriginality then, in some way, I am also reflecting how that is being falsely reflected within Australian culture. So, there’s this connection between my deconstructing this image in myself and deconstructing it in Australian culture. ’ (Benjamin 127) Robinson respond to current concerns with ethnicity and identity or other issues is to satirize political accuracy. The irrefutable legacy of lineage is closely examined by Robinson and Bennett in works acknowledging the difficulties of self identity.
Self Portrait (Ancestor Figures) (1992) is one of Bennett’s work mostly documented among their works. (Benjamin 127) Boy Am I Scarred, Eh! (1997) there was a scarring and psychic damage to Maori after McCahons speculation. ’ I see much of my current work as History painting, not as a documentary History painting, but rather it is painting that investigates the way history is constructed after the event, always mediated by someone’s point of view, a teleological one point perspective that reflects a Eurocentric bias.
‘(Benjamin 127) In early 1990s Bennett’s painting had accounts of optical grids, perspectives, black voids signs and dates signifying the impact and actions of arrangements of thinking applied by European colonial governments and individual putting borders and giving significance to the land of Australia and its populace. (Benjamin 127) Conclusion The Everyday phenomena style of art has affected the communities in a positive way since they get into issues that in most cases would have been ignored or overlooked.
In Australia during the 1990s the artist and everyday theme was similar since during this period there were issues such as European colonization, displacement of people from their land and people taking refuge in other states in hope of a new start of their lives. Imants Tiller, Gordon Bennett and Peter Robison in their work have interest on the everyday phenomena in their work. (Crosskey, 77) Works Cited Bosch A. V. den, Aesthetics, Allen & Unwin Publishers, 2005, ISBN: 1741144558 Biennale of Sydney, Sydney Opera House, Art, Modern, Biennale Publishers,
2002 Wood P. , Perry G. , Postmodernism, YALE UNIV PR Publishers, 2004, ISBN: 0300101430 Lindsay, R. , and et al, Painting, Modern, National Gallery of Victoria, 1983 Pratt W. B, Encyclopedias and dictionaries, Australia, Grolier society of Australia, 1977, ISBN: 0959660402 Lindsay, R. et al, Art, Australia, National Gallery of Victoria, 1987, ISBN: 0724101225 Daly M. , et al, Australia, Rough Guides, 2003, ISBN:1843530902 (Crosskey , J. Philip, Rose G. Roger, Art/Pacific Area, University of Hawaii Press, 1993, ISBN:0824815734 Curnow w. , Art, Australia, Craftsman House, 1997, ISBN:9057032716 (Rowley, S. , Handcraft/Philosophy, Allen & Unwin, 1997, ISBN: 186448313X McCulloch, A. , Biography, Allen & Unwin, 1994, ISBN: 1863733159
Benjamin R. , Art, Australia, Guggenheim Museum, 1995, ISBN: 0892071451 Cambridge Scientific Abstracts, Art Modern, Clio Press, 1969 Art Gallery of New, South Wales, Art Modern, the Biennale Publishers, 1986, ISBN: 0959661956? Smith, S. Ure, Traveling Exhibition, the Museum of Modern Art, 1941 Art Gallery of New South Wales Art, Australia, the Gallery, 1989?

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